sideGATE MK I v1.0 VST WiN

Team NEMESiS | 24/06/2008 | 1.69 MB

sideGATE : lookahead flexigate with virtual sidechain input

Mono || Stereo || Dual Mono || ‘just-in-time’ mode

Voice Production : Use sideGATE as a lookahead noise-gate when for example, you have a presenter speaking against background noise. Normal gating would result in a bump in background noise as the presenter speaks and the gate opens, but with sideGATE’s lookahead feature, the background noise can be gently faded in before the presenter speaks creating a smoother, less objectionable sound. Music Production : When the sidechain is higher than the threshhold, the channel is audible, when lower, gated – just the sort of functionality needed to gate a reverb according to the level of a snare drum, a synth according to a hi-hat, a bass according to a bass drum and so on. sideGATE can also be used to alter the attack of a sound (soften a solo electric guitar making it feel like a lap steel) and its panned outputs can be used to create a situation where the position of a sound in the stereo field is switched according to its volume.

SKWOSH v1.0 VST WiN

TEAM ASSiGN | 02 FEBRUARY 2011 | 6.06 MB

versatile compressor offering 4 main modes

SKWOSH, is a versatile compressor offering 4 main modes of hard and soft; compression and signal-boosting. Envelope following comes in a choice of peak or 2 RMS modes with optional peak-hold and simple or complex follow modes. The sidechain can be either internal (1&2) for regular stereo operation, or external; (3&4) for keyed operation. The sidechain filter offers high, low and band-pass with upto 4 poles for a maximum response or 24dB/octave. There is of course a monitoring switch to hear the filtering applied to the sidechain signal too. Various lookahead options are also on-board – a choice of set times with half, double and match modes relative to attack time. And to spice things up – SKWOSH sports 2 distortion algorithms for adding static or dynamic distortion depending on the level of input, and the gain reduction currently applied. To finish things off, the output (NY) mix control allows you to create the perfect balance between original and compressed signals, whilst the dual (input and output) flip switches make configuration a breeze.

Monolow v1.0 VST WiN-Peace Out

TEAM Peace Out | 29.04.2009 | 6,19 MB

monoLOW : low band conformance machine. monoLOW is just about the simplest tool going. The lower its frequency, the more a sound loses its directionality, so it sometimes makes little sense for frequencies below a certain point to be spread accross a stereo mix – a stereo bottom-end can cause a loss of focus.

simpleTON VST v1.1 WiN-ASSiGN

ASSiGN | 2.02.2011 | 4.8 MB

Simple and powerful – why isn’t it in my DAW by default ? All I needed was a high pass, followed by a low pass, a bit of drive and a mix control, but could I find it in one plugin ? NO. So now its grown up and gained a few more tweaks here and there including an additional more aggressive filter mode, and the ability to adjust the distortion contour. It’s still simple, but its even more lovely now …

whiteLABEL d:SHIFT v1.0 VST WiN RETAiL

HY2ROG3N | WiN | VST | x86 | 6.22 MB

A stereo pitch-shifter piles head-long into an echo box with filters bit-crusher and waveshaper. To pour acid in the wounds : modulators attack both pitch and delay time. “This oh-so desirable effect combines pitchshifting and delay to produce lush choruses, swirling echoes and some dynamite vocal doubling” With delay times ranging from 2 milliseconds right the way up to five seconds, the feedback path is the most important part of this effect … that’s where you’ll find a pitch-shifter, a bit-crusher, a wave-shaper and a shelving filter. A wide variety of effects can be generated from subtle chorus-type sounds to nasty smashed-up swooping loops, clean slap-delays to evil bad-guy voice effects.

BaddASS MK v1.0 VST WiN-NEMESiS

TEAM NEMESiS | 24/06/2008 | 1.81 MB

baddASS : Bass drum fortification device

baddASS is designed for sorting out weak bass drums. It can be used to gate the incoming bass drum and reduce spillage, but thats just the start. From storming bottom end to (even more) evil cutting distortion, baddASS’s drive, crush and EQ sections give you plenty of scope for re-inventing your kick. Add click for more attack, and re-inforce sub-bass content with pure waves, Parameters for badd, ass, and mix allow full control over the original bass drum, low-end reinforcement, and distorted nastiness – without using any compression.